All language subtitles for Forever Knight s03e20.eng

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[♪]

[HISSES]

[BREATHING HEAVILY]

[♪]

NARRATOR:
He was brought across in 1228.

Preyed on humans
for their blood.

Now he wants
to be mortal again...

to repay society
for his sins...

to emerge from
his world of darkness...

from his endless forever night.

[GROWLS]

[♪]

MAN:
First sip is like...

...explosion.

We taste everything.

I know his dreams,

his fears,

his loves.

I can feel myself against him.

Taste my own blood
returning through his.

He's younger than me.

A crusader turned away
from the light.

I can taste the sands
of Jerusalem in his veins.

Sweet...

with his hunger for me.

I die...

a hundred times
in his arms.

He dies in mine.

He dies in mine.

He dies in mine!

WOMAN:
Frank.

Frank.

It's okay. You're safe now.
You're with me.

I think that's enough

for today.

What happened?

Was I there?

I think
we're making progress, yes.

What--?
What did I say?

Who was I?

Frank, the point
of past-life regression

is to help us understand
what's causing your fears.

It's not about
who you were

or even what
you remember.

It's about who
you are now.

But I am remembering.

It's still
experimental therapy.

You'll have to give it time,
but we'll get there.

You have
to understand how...

...disturbing
this is for me.

We'll pick it up next time
right where we left off.

It'll be all right.

[♪]

FRANK [ON TAPE]:
I die a hundred times in his arms.

He dies in mine.

He dies in mine!

Dan Chase, poet,
lived in Parkdale.

According to the canvass teams,
he was last seen

walking down Queen Street
a few blocks from here.

Took a knife straight
to the heart.

Death would have been
pretty much instantaneous.

His throat was slashed
after death,

and he was drained
of blood.

The stains around the body
are pretty minor.

Looks like the killer took
the blood away with her.

Could it be some kind
of cult ritual?

LAMBERT:
I don't know, but she left a distinctive calling card.

Clear as a fingerprint,

if you can find a suspect
to compare it to.

Lucien.

It's been so long.

And who is this
fair traveler?

Nicholas Chevalier.

Nicholas, allow me to introduce
one of your sisters:

Comtesse du Montaigne.

Francesca.

The Nicholas of whom
I've heard so much?

You did not do him justice.

LACROIX:
I hope this doesn't inconvenience you, Francesca,

but we found ourselves

in urgent need
to travel.

As though my master
could ever inconvenience me.

You know you will always
be welcome in any home of mine.

There, you see?
Did I not tell you?

You did.

What he did not
tell me was

how beautiful
you really are.

In truth,

I would not
have believed him.

[CHUCKLES]

I was about to dine.

I hope you will join me.

LACROIX:
Of course.

Francesca's estate is known
for its rare vintages.

And I have a special treat
for tonight.

I hope you like music.

VETTER:
Do you ever have the feeling of déjà vu?

I beg your pardon?

I just feel like this
is all familiar somehow.

I don't know what it is,
but I don't like this one.

Well, there's no sign
of sexual assault.

My best guess is that the killer
gets off on this.

She's substituting killing
for sex.

I'd say that we are looking
for a woman

with a highly repressed
sexuality.

[♪]

LAMBERT:
You've been awfully quiet

about this one.

Have you checked
the stomach contents?

The victim ate, uh,
within two hours before death,

probably less.

Expensive pâté, steak,
caviar and a good merlot.

The condemned man's
last meal.

Or was he being fattened
for the kill?

The kiss print: a mixture
of blood and lipstick,

the victim's blood.

She's drinking their blood.

Nick, look, I-I know
that there are no fang marks--

There wouldn't be.

Killed with a knife
to the heart.

Sudden death.

Sweetens the blood,
but it stops the circulation.

[SIGHS]

We need the beating heart
to feed,

to bring the blood
to the neck.

If the victim's dead,
the body has to be drained.

So this is a vampire.

I've seen it done before.

Well chosen, my dear.

The man has
a master's touch.

He was the toast
of the season in Paris.

It's easy
to see why.

It's rare to see one play
with such...

passion these days.

You have a brilliant future
ahead of you, sir.

Thank you,
monsieur.

Comtesse.

That will do
for tonight, Faubert.

Inform the others.

As I said, Nicholas,
the comtesse is known

for the quality
of her entertainment.

It's worth the ride
to Avignon.

Especially when one
has to leave Paris

in such a hurry.

[CHUCKLES]

How ever did you
convince them

to come down here?

Musicians, even great ones,
are woefully unrewarded.

I offered the hospitality
of my home and my estate.

He was pathetically grateful
to accept.

KNIGHT:
Must all your guests

sing for their supper,
comtesse?

All my guests must earn
my approval, monsieur.

You will not have to sing.

LAMBERT:
Then you know who we're looking for.

There was someone once,

but she's dead.

Just got a call. Looks like
we've got another one.

Parking garage
in the Beaches.

[♪]

[INDISTINCT CHATTER]

MAN:
So, Vetter, you got another one.

Go swallow a sock, Fuller.

You make nice. I'm just
putting two and two together.

You're out of your jurisdiction,

I figure
you got called in special.

Maybe we're doing
a favor for the 88th.

Oh, yeah, 'cause Reese
and Captain Jacobson

get along so well. Ha!

So, Tracy, word is
you got a dead guy

with a kiss print
on his forehead.

What? I got sources.

I was born yesterday?

So Reese is pushing you
to play it close to the vest,

don't scare the public,
don't tip off the psycho chick.

But I know you, Tracy.

You got imagination.

You know you can use
the media on this one.

I'll break it
wide open, right?

No?

No.

Friend of yours?

Reporter,

putting two and two together
and getting five.

I dated him once.

Oh, yeah?
Anything serious?

No, I mean,
I dated him once.

Oh. Heh.

FRANK:
It's so quiet in the halls.

I can hear
every heartbeat.

WOMAN:
Who's here?

Francesca.

What year is it,
Francesca?

I'm not sure.

Seventeen...

1755.

And where are you?

In my home...

on the Côtes du Rhône.

I'm...

...moving to the bed.

He's here.

Fast asleep.

Who's there?

The face...

The man from my dreams.

Do you know who he is?

I can still taste him
on my lips.

Feel him in my veins.

I can see him.

[HISSES]

No!

Frank, it's okay.

I know who he is!

I know who he is!

I know who he is!

[PANTING]

Who is he?

My lover

and my k-killer.

Nicholas Chevalier.

[HEART BEATING]

[PANTING]

[SIGHS]

[♪]

[DOORKNOB JIGGLING]

FRANK [ON TAPE]:
We are drawn together

from the first time
I see him.

Even in the shadow
of our master,

he's the one I see.

I have to have him.

[♪]

[BOTH CHUCKLE]

Good morning.

Francesca.

Francesca.

Shh.

We said all we needed to,
last night.

[CHUCKLES]

[PANTING]

[CHUCKLING]

Shh.

Later, later.

Drink.

[CHUCKLES]

Delicious,
isn't it?

I believe he's at the height
of his talent.

My God, F-Faubert.

Yes. Drink more.

LAMBERT:
So you could tell who it was

from just one sip?

Who it was,
what he thought,

who he loved.

How he died.

You have to understand
that every drop of blood

has your whole life
in it.

It's not just
our food.

It's the way we feel life.

Imagine if you could know
someone's soul

just by sharing their blood.

Everything
you know,

everything you are,

transformed
into touch and taste.

Imagine
the temptation

to take just one sip.

One sip,
and then another,

and another.

To take them
inside you

and know every secret.

To let them know yours.

To be them.

That's why it's such
a tough habit to break.

VACHON:
Stabbed and then drained, huh?

You could have a connoisseur
on your hands.

There are vampires who get off
on the death rush.

These days, with everybody
being real careful

about not making
a lot of extra bodies,

it's an expensive taste,
but it's like anything else.

You can always find people
who will cater to any request

for a price.

You mean,
like a blood broker?

You said the blood
was being collected, right?

[SIGHS]

From a poet?

You can always find a market
for a special vintage.

Poet, musician,

even an actor
brings a premium

if you have
the right customer.

I've heard of people
working in that line,

but I don't know any.

Well, that could explain
why there's no connection

between the victims.

There's no common
denominator.

If the killer is a vampire,

could she be collecting them?

Different memories,
different lives?

I'll buy that.

The thing that doesn't fit
is the bodies,

both found
in very public places.

For a blood collector,
part of staying in business

would be cleaning up
after yourself.

I don't think this is
a professional, Vachon.

There's something
about the murder sites.

It's just a feeling--

No, these are personal.

Trace,

if it is a vampire...

What am I gonna do
when I find her?

I don't know.

FRANK [ON TAPE]:
I've lived here

almost 400 years.

It is my home.

The bed...is walnut

with ivory linen sheets,

and a square-cornered canopy
with sheer curtains,

and green velvet
that matches the drapes.

I keep the curtains drawn
in the daytime.

But at night,

I can see
the moon from the window

over the bureau.

I keep the men downstairs.

But the others,

the ones like me,

I bring here.

Someone's here now.

Lucien.

And who is this fair traveler?

Nicholas Chevalier.

FRANK [ON TAPE]:
Nicholas,

say hello
to one of your sisters,

the Comtesse du Montaigne,

Francesca--

Francesca du Montaigne.

All right, Dr. Kadlec,

tell them exactly
what you told me.

Doctor.

[SIGHING]
Well,

normally I wouldn't be

breaking doctor-patient
privilege,

but I guess
that goes out the window

in a case where the patient
could be dangerous.

It's about the article
in the paper

about the murders,
the kiss?

Go on.

I have a patient
who has been describing

certain thoughts,

certain fantasies.

At least I thought
they were fantasies.

Fantasies that resemble
these killings?

We had a very intense
session yesterday.

And then early tonight

he broke into my office,

and he stole the tapes
of our sessions.

Wait a minute. He?
REESE: Whoa, you haven't heard

the best part yet.

Frank has been undergoing
past-life regression

as part of his therapy.

And the dominant personality
in these sessions

has been female.

REESE:
Apparently, he thinks

he's the reincarnation
of some 18th-century countess.

A vampire.

FRANK [ON TAPE]:
The timing is very important.

A knife slides home
in a single stroke

and freezes time,

pouring everything
they're feeling

into their blood.

They're caught between lust

and fear.

When I taste their blood,

I taste that.

A lust for me,

a fear of me.

There is nothing sweeter.

That's the only tape
I still have.

It was in the machine.

He must have missed it.

Sounds like it could be
our guy, all right.

Tell us about him.

Frank Lopietro.

He came to me
about three months ago.

He had been overtaken
by these dreams

where he saw himself
as a woman,

making love to a man.

He was feeling the urge
to be this woman.

He was always heterosexual.

This was something
that was new to him,

something he wanted
to control.

Which one
of you decided

he'd been a woman
in a former life?

Traditional psychotherapy
had failed him, captain.

Hypnotic
regression

h-has been a useful tool
for me and my patients.

To me, it doesn't matter

whether their memories
of past lives

are real or fantasy.

It's a way of unlocking
their deepest hopes and fears

of seeing themselves
in a clear light.

Frank's stories are all
from a female perspective.

The perspective
of Francesca du Montaigne,

a vampire who lived
and died and killed

250 years ago.

KNIGHT:
Francesca, how could you do this? Why?

I thought you appreciated
artists as I do.

Appreciated art.

[ANGRILY]
I don't appreciate it by killing it.

What other way
is there for us?

Can't you feel it coursing
through our veins?

His talent,
his essence.

His genius,
his passion wasted.

Not wasted,
savored.

Immortalized
with us.

Let us have
the instrument brought.

You can play
as he played.

[PANTING]

It will last maybe
two hours, no more.

And then it
will be gone.

And then
I shall have

another brought
from Paris.

Or would you prefer
a painter?

Or a dancer?

[LAUGHING]

KADLEC:
He, uh, sublimated

his hunger for sexual attention

into this
vampire fantasy,

complete
with mysterious lover,

the dark and dangerous
Nicholas Chevalier.

Francesca du Montaigne is a--
A manifestation

of his desire

projected onto another facet
of his personality

that he could feel
separate from.

She was a way of controlling
his own impulses.

The vampire fantasy is a--
Is an archetype

that's deeply embedded
in our collective unconscious.

It stems from, uh,
the sublimation

of sexual desire.

The deeper the frustration,

the greater the-- The desire.

And in creating Francesca,

Frank created a persona

who had the freedom
that he's never had,

a sexual freedom.

REESE:
But how does that get into killing?

Well, in the vampire myth,
killing is sexual.

Sexual freedom becomes
the freedom to kill.

VETTER:
If he believed he was a vampire,

then he'd believe he had
the permission to kill.

That's part of his nature.

Or, um, anyway,
that's part of the myth.

Yes, but then myth
can be very powerful.

Exactly.

But to be honest,

I think I'm getting in

way over my head.

I've been treating Frank
for gender confusion,

for issues of sexuality

and identity,

not for violent
tendencies.

Not for anything
like this.

Cap,

I think we should have
a look at his place.

Okay, I think I can scare up
a search warrant.

Dr. Kadlec,
we need you to sit down

with a sketch artist.

This shouldn't
take long.

That's fine.
Okay, good.

Vetter, get her
set up with Marcot.

[EXHALES]

Uh, Knight?

I've been on the force
for a long time.

I've seen nut cases who thought
they were everything

from Louis XIV
to Elvis's alien love-child.

Let's keep this one
in the real world, okay?

Yeah,
I'll do my best.

[♪]

[KNOCKING ON DOOR]

KNIGHT:
Police. Open up.

Mr. Lopietro, open up.

[SIGHS]

Nick?

No one's home.

LACROIX:
Francesca du Montaigne

is dead.

KNIGHT:
I think she's back.

Reincarnation?

Is that
what you're suggesting?

Well, I have seen
stranger things in my time.

Men who walk
through fire,

children born speaking
long-dead languages,

and Harry Houdini had rather
a nifty trick with handcuffs

and a tank
full of water.

This isn't a trick, Lacroix.

I don't know
how it happened,

but somehow this man
knows Francesca,

has her soul.

Or her soul has him.

Yes,

which means
that she is truly immortal,

defying the corporeal laws

that are supposed to bind
even those of our kind.

So whose laws
will you use

against this killer,
Nicholas?

And who will you arrest,

him or her soul?

If this is
Francesca reincarnate,

I doubt that she remembers
you fondly.

[MICROPHONE CLICKS]

Here is an interesting dilemma
for you, gentle listeners.

Where does responsibility lie
for what we do in our lives?

Is payment in full
rendered for our sins

at the hour
of our death?

There is talk that this life
is but one of many

in a cycle of lives
without end.

Should this be so,

should immortality
be our common bond,

what is its purpose?

What does it mean?

I hope that our arrival does not
inconvenience you, my dear.

Do we return
to this mortal coil

unfettered by our sins
or burdened by them?

Perhaps...

we are not forgiven as easily
as some would believe.

Perhaps to be immortal
in this way

is an eternal judgment,
a true life-sentence,

from which we,
as sinners,

can never be absolved.

Here's a sketch
for Lopietro, APB.

Now that we know
who we're looking for,

we'll find him.

Um, doctor,

you mentioned dreams.

That Frank was dreaming
about his past life.

Is that...usual?

Well, troubling dreams
are often an indication

that something hidden
on a subconscious level

is trying to reveal itself.

Recurring instances
of déjà vu

are also good indicators
of that.

Maybe your subconscious
is trying to tell you something.

It could be something
in your childhood

or in your further past,
or...it could be something

that's right in front of you,
but you don't see it.

Usually,
all the clues are there.

We just can't
put them together

because we're not open
to self-discovery.

You come by my office
if you like.

Uh... No, I--
I couldn't.

Mm. Not everyone is ready
to face their own secrets,

to take a glimpse
at their inner selves.

LAMBERT:
Reincarnation?

Is it so hard to believe?

Nick, I am in the habit
of believing

10 unbelievable things
before breakfast every day,

starting with you.

But I must admit
that I'm having

just a little bit of trouble
with this one.

We're talking about a guy
who is convinced

that he knew you
in a past life,

that he was a vampire,
a female vampire,

and now he's killing
the way she did,

but he's not
a vampire.

He remembers me,
he remembers Francesca.

Nat, you didn't
hear the tape.

You weren't
in that room.

How could he know what he knows
if it's not true?

He knows my name.
He knows what I am.

I don't know. Maybe someone's
messing with your head.

Uh, Lacroix?

Why would he do that?

Because he's evil?

Uh-- Uh, sorry.

What if this
is real?

This is Francesca?

What does that say
about vampires?

About our souls?
That they go on forever?

That the evil in me
will just infect someone else

if and when I die?

That evil can't be destroyed?

No, I don't believe evil
can be destroyed.

Controlled, maybe, like
we're trying to do with you,

but never destroyed.

Then why are we bothering?

Because evil is a part
of the human condition, Nick.

Curing you won't eradicate
the evil in you,

but it will help you
to control it.

VETTER:
You think it could be true?

Eighteenth-century
vampires?

Nicholas Chevalier?

Sounds more like
a romance novel to me.

But it's real for Frank.

There's something
in his subconscious

that's creating
this fantasy.

A buried memory
trying to be heard.

Well, let's just hope
we find him

before these memories
make him kill again.

Bye.

Gordon.

We found a witness
with a, uh,

tip on your
"kiss of death" killer.

Captain wants this composite
in the paper tomorrow.

VETTER:
Of course, the captain thinks his whole memory is a fantasy.

Even the guy's own doctor
thinks so, but I don't know.

It could be real.

Does the name
Nicholas Chevalier

mean anything
to you?

Uh... Where did you
hear that?

Lopietro said they
were lovers in 1755

when he was Francesca.

Maybe this Chevalier guy
is still around.

Maybe he's the connoisseur
we're looking for.

Uh...

I don't think so, Trace.

But he is a vampire?

Huh? Is he?

Do you know him?

So there is something
to this guy's story.

He was a vampire
in a past life?

Uh-- Maybe there's another
explanation, you know.

You know, there--
No.

There is something
about this case.

Something so familiar.

I just couldn't
put my finger on it.

It's like...

[SIGHS]

It's like
Lisa Kadlec said,

it is right there
in front of my face.

I-- I am--
I'm just not...

I'm just not
seeing it.

So, Mr. Fuller,

is there anything in particular
that I can help you with?

Eighteenth-century vampires,
wasn't it?

What is this about?

It's about this man.

I'm sorry,
I can't help you, Mr. Fuller.

I want you to leave
right now.

Now, I looked you up,
Dr. Kadlec.

Aromatherapy, hypnosis,
past-life regression.

Pretty unusual
bag of tricks. Get out.

This guy a patient
of yours?

I am not going
to discuss this with you.

Did he confess to you
about the killings?

Goodbye, Mr. Fuller.

Goodbye.

[KNOCKING ON DOOR]

I told you, Mr. Fuller--

The police were
at my house, Dr. Kadlec.

I saw them pull up.

You didn't send them,
did you?

Oh, my God.

FRANK [ON TAPE]:
The police were at my house, Dr. Kadlec.

I saw them pull up.

You didn't send them,
did you?

KADLEC:
Oh, my God.

That was left running
in her office

at around 11:30
this morning.

No one's seen her
since.

Do you know who else was
on that tape, Mr. Fuller?

You.

Sure I was there.

She's a witness.
I have a story to cover.

KNIGHT:
You saw the composite,

but you didn't see
Frank Lopietro

go into her office?

[CHUCKLING]
Oh, believe me,

that would have
been a story.

Honest, detective.

The only other person there
was some woman.

Wait a minute.
What did she look like?

I don't know. Um...

Tall, dark hair,
long dress.

I didn't really notice.

How tall?
Taller than you?

Yeah, I think so.

I don't think
those composites

are gonna do
the units much good.

You think he was dressed up
like this Francesca woman?

I think he becomes Francesca
when he kills.

We should have
the composites altered.

VETTER:
Uh, coming, Gordon?

Oh. Ahem.

[DOOR OPENS]

You should eat.

Frank,

you don't want to do this.

You came to me
because you wanted my help.

Frank, you still need that help.

I came to you because
I was confused, doctor.

I didn't know who I was

or why I was feeling
what I felt,

but now I know who I am,
what I am.

Are you...Francesca?

I am all that is left of her.

Her body died long ago,

but I still remember...
her beauty,

her passion,

her needs.

Faubert...

MAN:
The comtesse, my lord.

She's mad or cursed.

I beg you,
before she returns...

Come away, Nicholas.

The chef does not spend his time
in the slaughterhouse.

Is that what they are to you,
Francesca, cattle?

Each one fed on the finest steak
and goose liver.

But they are human, Francesca,
as we once were.

They are no more to us
than cattle are to them.

Stop! What are you doing?

Go! Quickly go!

[FRANCESCA YELLING]

[KNIGHT GRUNTING]

[GROANS]

You know, Nick,
if this is Francesca,

she could be just
a little annoyed with you.

That's what
Lacroix said.

He's feeding his victims
like Francesca did.

That means he has
to be keeping them

somewhere private,
somewhere...

What?

She said it.

The chef
in the slaughterhouse.

[♪]

Eat.

I'm not hungry.

Frank, listen to me.

Francesca isn't real.

She's a part of you,

a part that craves
love and attention.

She is a part of me,

but she's real,

and she craves more
than just love.

She craves blood.

Frank, please, you
don't want to do this.

Frank does not decide.

I decide.

I wonder...

What do you taste like,
doctor?

Frank,
this isn't real.

You're not a vampire.

Police.

Put down the knife.
Let her go.

Chevalier?

You killed me.

Let her go.

I know who you are,
and I know how to kill you.

[HISSING]

It's...not the first time
you've killed me,

Nicholas Chevalier.

There will be...

another...time.

How's Lisa Kadlec doing?

Oh, she's fine.
I talked to her today.

But she doesn't remember
anything

after Frank broke
into her place.

Probably just as well.
Yeah.

Something about this case

gave me the creeps
from the beginning.

I'm just glad
it's over.

So?

It was Francesca.
I'm sure of it.

[SIGHS]

And now?

Well, he's dead,

and she's gone.

For now.

But her soul will come back.

VETTER:
So I... I'm not even sure why I'm here.

The case, I guess.

It really got to me,
you know?

I even had a dream
that it was me lying there.

What makes you
think that?

Maybe I...

Maybe I was,
you know?

Maybe I was there.

Maybe I was one of the ones
that she killed.

Tracy...

maybe you should examine

what's going on
in your life right now

that might make you think that.

Doctor, how can you be
so sure it's not real?

I mean...it's a possibility
that these things exist,

vampires.

Okay, Tracy, um...

I want you to sit back,

shut your eyes

and imagine yourself
sinking into the chair.

Nice deep breaths.

Let your muscles relax.

Now, we're gonna
count backwards from 10,

and when we reach one,

I want you to tell me
where you are

and who you are.

Ten,
[EXHALES]

BOTH [IN UNISON]:
nine, eight,

seven, six,

five, four,

three...
[PLAYING VIOLIN SOLO]

Do you hear music?

[♪]

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